Local traits were evident in popular music dating back to the colonial period in the various regions of Latin America. The presence of African slaves in the Spanish Caribbean resulted in the emergence of distinct musical styles that merged tropical sounds with African rhythms (see slavery). Popular Caribbean music was generally accompanied by a dance style, and forms such as the mambo and the contradanza emerged in the 19th century and became predecessors to the salsa genre of the 20th century. A similar evolution in popular music occurred along the Caribbean coast of northern South America, which was a main point of entry for African slaves into the Spanish mainland. Cumbia music and dance developed first in present-day Colombia as a fusion of African sounds and native instruments. Because of its African and indigenous roots, cumbia was long considered the music of the poor and lower classes. Versions of cumbia spread to other South American countries.
Brazil also witnessed an amalgamation of African, indigenous, and European musical and dance styles throughout the colonial period and during the 19th century. Brazilian plantation owners imported African slaves whose musical traditions merged with local styles. Hybrid musical forms and accompanying dances were incorporated into religious practices in those communities, despite elite attempts to curtail their popularity. By the 19th century, the predecessor to samba had emerged as both a musical style and a seductive dance. By the end of the century, many urban elite had embraced the distinctly Brazilian music, and samba eventually became part of carnival celebrations in Rio de Janeiro and elsewhere.
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When thinking of indigenous music, many people may imagine acoustic instruments and pastoral settings far removed from the whirl of modern life. But, in contemporary Peru, indigenous chimaycha music has become a wildly popular genre that is even heard in the nightclubs of Lima. In Making Music Indigenous, Joshua Tucker traces the history of this music and its key performers over fifty years to show that there is no single way to "sound indigenous." The musicians Tucker follows make indigenous culture and identity visible in contemporary society by establishing a cultural and political presence for Peru's indigenous peoples through activism, artisanship, and performance. This musical representation of indigeneity not only helps shape contemporary culture, it also provides a lens through which to reflect on the country's past. Tucker argues that by following the musicians that have championed chimaycha music in its many forms, we can trace shifting meanings of indigeneity--and indeed, uncover the ways it is constructed, transformed, and ultimately recreated through music.
Hay muchas versiones sobre los orígenes del tango: se dice que nació en las orillas, que tardó mucho en ser admitido por la alta sociedad, que se bailaba en los prostíbulos porteños. En este libro, el gran estudioso del tango Héctor Benedetti logra sortear esas imágenes de idealizada marginalidad para analizar el devenir del género, desde el siglo XIX hasta las nuevas expresiones del siglo XXI. Así, construye una historia diferente y original, una obra de referencia que, a contrapelo de la tendencia más extendida, no recae en la sumatoria de biografías elogiosas ni en el esquematismo de las divisiones rígidas. Por el contrario, apuesta a sistematizar y articular un largo curso de acontecimientos y dar su justo lugar a los hechos y personajes más notables.
The definitive history of bossa nova music--which has produced such enduring hits as "The Girl from Ipanema," "The Waters of March," and "Desafinado"--this book chronicles the culture of Rio during its heyday. Based on extensive interviews with Antonio Carlos Jobim, João Gilberto, and all the major musicians and their friends, this retrospective is full of passion and betrayal, love and hate, comedy and tragedy.
"Maracatu Atômico" is the first academic work to investigate the mangue movement, one of Brazil's most vital pop culture trends of the last thirty years, and the related "new music scene" of Northeast Brazil. Contending with the widespread poverty and social problems, mangue places a renewed value on the local environment and its myriad folk traditions while embracing modern, global pop influences and technology. The book provides historical and ethnographic accounts of the movement, analyzes salient examples of folk and pop fusion music, and enters recent debates about postmodernity, globalization, and "world music" in an attempt to understand better how local musicians in one "Third World" region interact within a more global cultural system.
In Samba On Your Feet the filmmakers go behind the Carioca milieu to document samba and carnival. The one-hour documentary traces the influences that contributed to shape the music that consecrated Carnival as one of the most powerful cultural manifestations in Brazil. Roots and perspectives, flesh and ghosts, entities and divinities spread across the slums and over the sidewalks of Salvador, Bahia and Rio de Janeiro are essential to the make-up of the Brazilian musical exponent par excellence. Samba On Your Feet introduces the voices of Cartola, Caetano Veloso, Ismael Silva, Clara Nunes, Clementina and many others whose perspectives on the cultural affairs of Rio de Janeiro that have been carefully articulated with interviews to exponents of the Brazilian culture today. This dialogue between past and present takes place throughout the movie between precious scenes of archive footage from private collection, and government resources.
Samba On Your Feet was filmed in the marginal slums, Umbanda terreiros, and in the favelas where the less fortunate inhabitants of Rio strive to overcome overwhelming rates crime and illiteracy to the rhythm and soul of the music they call samba. Samba On Your Feet screened at the Toulouse Film Festival, France 2008; Rio International Film Festival, Brazil 2006; Buenos Aires Independent Film Festival (BAFICI) Argentina 2007; and Toronto Film Festival, Canada 2007.
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Peruvians of African descent are a minority within their country, but their culture has had a tremendous impact. Even la Marinera, Peru’s national dance, shows African influence. Using performance, historical photographs, and interviews, this program acquaints viewers with Afro-Peruvian music and dance. Host Eve A. Ma explains how these art forms were affected by the strictures of slavery in colonial-era Latin America, while dancer/percussionist/choreographer and folklorist Lalo Izquierdo demonstrates instruments developed by slaves that are now used by Latin jazz musicians. Highlights of the video include a performance of the Torito Pinto, a dance that mocks the slave master, and segments on the multicultural roots of zapateo and the hatajo de negritos.
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Argentina explores the heart of traditional Argentine folklore via a series of choreographed tableaux retracing a history rich in original culture. The unique mise en scene of the dance mixed with awe-inspiring traditional songs performed by the musicians make it unique. Poetic, riveting and moving, this live performance choreographed by Carlos Saura calls on the entire history of a country set to the tune of guitars and accordions. Argentina shows through the music and dance of Argentinian folklore a country and its people, a landscape, a story and how this has shaped a way of being that remains fascinating.
"I always had the urge to shoot Argentinian music, especially for the wealth of its zambas and chacareras, what you call folklore." --Carlos Saura
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